"Anything you can do, I can do meta."
"Going meta is a great way to sneer at someone. You remove the rug from underneath the other's feet. Their mere immediacy is always false. It's the deep structure, the numinous background, the possibility of the possibility of the horizon of the event, that is more real, better, or just more rhetorically effective, than anything else. [...] The syndrome of going meta is repeated in countless different philosophical modes."
Timothy Morton, Hyperobjects
A arte de tirar o tapete
Isto é forte!
"When Psyche lets go of Cupid's leg and falls, exausted, to the ground, Cupid turns in his flight. Alighting on the top of a tall cypress, he speaks to her about what he had not wanted her to see: his relationship with his mother, his vulnerability. "My poor, naïve Psyche," he begins. She did not know what was happening, could not know except insofar as she felt his fear of being exposed, his fragility, and the urgency of his need for control. Now anger rushes to the surface as he begins to speak about his love. His voice is distant and supercilious: "In fact I disobeyed the orders of my mother Venus, who had commanded me to chain you with passion for some wretched and worthless man and sentence you to the lowest sort of marriage. Instead I flew to you myself as your lover." He had shot himself with his own arrow, falling in love with her and making her his wife, only to discover that she had thought him a wild beast, a monster, and had taken a knife to cutt off his head, "the head that held a lover's eyes." It is hard to hear the love ("your lover, lover's eyes") through the veil of attack, which now picks up force. He had warned her not to listen to her sisters. As for Psyche, he will punish her now "merely by leaving." With this, Cupid takes off into the sky, heading for his mother's chambers. By refusing to accompany her father in his blindness, by saving herself and her child instead of obeying her husband, by opening her eyes and seeing with whom she is living, Psyche has walked out of the Oedipus plot, but Cupid is heading into the heart of tragedy."
Carol Gilligan, The Birth of Pleasure
Arte e ecologia
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| Isaac Cordal |
Timothy Morton, Hyperobjects
Ser altruísta é mau?
Ayn Rand - Why Altruism is Evil
"Humans must learn to care for fatal substances [nuclear stuff, por exemplo] that will outlast them and their descendants beyond any meaningful limit of self-interest. What we need is an ethics of the other, an ethics based on proximity of the stranger."
Timothy Morton, Hyperobjects]
Tragédia no feminino
Carol Gilligan on Women and Moral Development
"The good woman is selfless. The good woman is responsive to everybody else's needs."
Carol Gillian
"I just was not the girl that was told that a man would define me. We woman were raised to accommodate men." aqui
Sharon Stone
the body within
"Do you want to know what I think? Or do you want to know what I really think? [...] 'I hid myself within myself... and quietly wrote down all my joys, sorrows and contempt in my diary' — this is Anne Frank. [...] To hold parts of our experience not as a secret from others but as a 'foreign body' within ourselves. [...] I found it easy to spot the difference between the reality of relationship (being in sync with another person) and the pretense of relationships. [...] 'If I were to say what I was feeling and thinking, no one would want to be with me, my voice would be too loud,' seventeen-year-old Iris says, half to me and half to herself. And then looking straight at me, she adds with an edge of defiance: 'But you have to have relationships.' [...] Iris sees the paradox in what she is saying: she has given up relationship in order to have relationships, muting her voice so that 'she' could be with other people."
Carol Gilligan, The Birth of Pleasure
triangulos
"The foundational stories we tell about Western civilization are stories of trauma. [Oedipus, Oresteia, the book of Genesis, Noah].
[...] In these foundational stories, a trauma occurs in a triangle composed of two men and a woman. When we focus more closely on what actually happens, we see that a father or a husband's authority is challenged. [...] What follows has the cast of tragedy, as if what happens had to happen. The order of the triangle has been challenged (father over son, man over woman), and a man, wounded in his love, responds by unleashing a cycle of violence.
Perhaps patriarchy, by establishing hierarchy in the heart of intimacy, is inherently tragic, and like all trauma survivors, we keep telling the story we need to listen to and understand."
Carol Gilligan, The Birth of Pleasure
do tempo presente
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| A river without banks, Marc Chagall |
"The present does not truly exist. We experience a crisscrossing set of force fields, the aesthetic-causal fields emanated by a host of objects. Anyone familiar with relativity theory will find this idea reasonably intuitive. What is called present is simply a reification, an arbitrary boundary drawn around things by a particular entity — a state, philosophical view, government, family, electron, black hole. Time is not a series of now-points (Aristotle himself refuted this idea) but rather a sickening surge, like crosstown traffic, or an ocean with many currents; or 'a river without banks,' like the title of a painting by Marc Chagall. Time is a flurry of spells and counterspells cast by objects themselves. Past and future do not intersect in the usually visualized way, as (say) the left-hand and right-hand sides of a cursor blinking on a screen. What we have instead is a nonspatial rift between past and future that corresponds to the Rift between appearance and essence. Between these two fundamental forces, the present is nowhere: objects are never present."
Timothy Morton, Hyperobjects
da imortalidade
A triste existência de um saco de plástico abandonando que só desejava que o seu criador o não tivesse feito imortal.
Sócrates
"What a historical joke we have there in Socrates, that we can recognize as the founding figure of philosophy, its hero and martyr, with someone that preaches the false to know the true, and even worse, someone that shows that we are condemned to falsehood since truth cannot be known. He had necessarily to be killed, he who preached an antilogic, for example in the Parmenides dialogue where every proposition and its contrary is both tenable and untenable. If the false is true and the true is false, we don't know anymore where we stand, we don't know anymore if we exist: the carpet has been pulled from under our feet. But what amazing freedom is given to us: the right to think the unthinkable, all the way into absurdity. Nevertheless, the agonistic dimension of this otherness, the crossing over on the other side of the mirror, the fragmented ‘this sidedness’ of reality which refuses the establishment of any system, of any conceptual and ethical map, is unbearable for both the common man and the knowledgeable man, since both compose, as raw or cultured as they are, the hierarchy of self evidence and good horse sense, a worldview where coherency has to be granted."
aqui
da verdade e da mentira / pela 'via negativa'
Um debate entre Hípias e Sócrates, sobre quem seria o melhor homem na Ilíada, se Ulísses ou Aquiles.
O debate centra-se na questão da mentira, e Hípias defende que Aquiles é o melhor porque não mente, contrariamente a Ulísses, que é o mais astuto e não hesita em mentir. A certa altura, Sócrates demonstra que Aquiles também faz afirmações que não são verdadeiras, mas Hípias defende o herói argumentando que ele não o faz de forma consciente: ele apenas mudou de opinião,mas ele é muito sincero . Sócrates encerra o debate defendendo que Ulísses é melhor que Aquiles pois quando mente, sabe muito bem que o está a fazer, portanto conhece melhor a verdade que Aquiles.
Thus Socrates defends lying in order to defend the truth, with the same irony that he claims his own ignorance in order to teach.
Nasrudin, o Hodja e alguns dos seus contos
Sobre Nasrudin
Like
Ulysses, Nasruddin is no one and everyone, he represents a tradition –
oral and written – more than a specific person, from which he draws his
strength as a school of life more than as a petrified hero or a
petrified opus. Even his name changes
totally, since in his fame around the Mediterranean and beyond, even
outside the Muslim world, he will come to bear different names such as:
Jiha in Maghreb, Afandi in China, Nastradhin Chotzas in Greece and
Hersch’le in Israel. The tales being told are efficient and pedagogical.
Out of those stories, each listener will hear and understand what he
can, with his own means. The apparent lightness of many of them reveal
and hide a profound understanding of the reality of being, even if one
can easily remain on a superficial external apprehension of them.
daqui
We ARE here and we ARE NOT here, at the same time
"When you see a 'Magic Eye' picture, you realize that all the little
squiggles that you thought were individual squiggles are actually
distributed pieces of a higher-dimensional object that seems to emerge
when you do that crossing-your-eyes thing. In a Magic Eye picture, the
cup or flower is distributed throughout the mesh of fuzzy little patches
of the image. 'The object is already there'. Before we look at it.
Global warming is not a function of our
measuring devices. Yet because it's distributed across the biosphere and
beyond, it's very hard to see as a unique entity. And yet, there it is,
raining on us, burning down on us, quaking the Earth, spawning gigantic
hurricanes. Global warming is an object of which many things are
distributed pieces: the raindrops falling on my head in Northern
California. The tsunami that pours through the streets of Japanese
towns. The increasing earthquake activity based on changing pressure on
the ocean floor. Like the image in a Magic Eye picture, global warming
is real, but it involves a massive, counterintuitive perspective shift
to see it. Convincing some people of it's existence is like convincing
some two-dimensional Flatland people of the existence of apples, based
on the appearence of a morphing circular shape in their world."
Timothy Morton, Hyperobjects
)
)
Quantum weirdness
"Your
connections, to all the things around you, literally define who you
are. And that's the profound weirdness of quantum mechanics."
Catexias
Timothy Morton, Hyperobjects
Pictures that help the viewers see things in pictures
OOO
Object oriented ontology is a first principles philosophy. One that adds a focus on individual entities to rejection of the human world correlate. The orientation in triple 'O' normally modifies ontology which is orientated toward things of all types and scales. That's the abstract part of the metaphysics and we need it. But we also need the concrete part, the metaphysicians practice. Object oriented ontology is, thus, not only the name for an ontology oriented towards objects, but a practice of learning how to orient towards objects ourselves and, mise en abyme like, how to orient toward object orientation.
A dear photograph is a photograph to see what a photograph looks like in a photograph.
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| 'I fell in love with a woman. I'm not ready to let go, but she is' - McKenzie Dillingham. Photograph: Dear Photograph |
da viscosidade III
"The sticky mirror demonstrates the truth of what phenomenology calls
'ingenuous' or 'sincerity'. Objects are what they are, in the sense that
no matter what we are aware of, or how, there they are, impossible to
shake off. In the midst of irony, there you are, being ironic. Even
mirrors are what they are, no matter what they reflect. In its
sincerity, reality envelopes us like a film of oil. The mirror becomes a
'substance', an object. Hyperobjects push the reset button on
sincerity, just as Neo discovers that the mirror no longer distances his
image from him in a nice, aesthetically manageable way, but sticks to
him."
Timothy Morton, Hyperobjects
All things are connected / da viscosidade II / Linking stuff
Timothy Morton, Hyperobjects
da viscosidade
Timothy Morton, in Hyperobjects, Philosophy and Ecology after the End of the World
"Objects in mirror are closer then they appear."
"The mirror itself has become part of my flesh. Or rather, I have become part of the mirror's flesh, reflecting hyperobjects everywhere. I can see data on the mercury and other toxins in my blood. At Taipei Airport, a few weeks after the Fukushima disaster, I am scanned for radiation since I have transited in Tokyo. Every attempt to pull myself free by some act of cognition renders me more hopelessly stuck to hyperobjects."
Timothy Morton, in Hyperobjects, Philosophy and Ecology after the End of the World
Vipassana
Em Portugal, mais ainda
Uma técnica antiga descoberta há 25 séculos, na Índia, por um homem chamado Siddharta Gautama, mais conhecido por Buda.
Kiran Bedi
S. N. Goenka
